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Sunday, May 19, 2013

Soulful Ballet: Dance Theatre of Harlem

For as long as I can remember, I have been an ardent admirer
of the dance: from ballet to modern, from African to jazz, from hip hop, to ballroom,
from salsa, to break-dance – I love it all.
I was privileged to see the Dance Theatre of Harlem during their recent Philadelphia engagement at the AnnenbergCenter.
The audience generously bestowed the company with hearty, sustained applause,
and seemed to genuinely appreciate their artistry. There were, however, some
mixed reactions. One friend who attended the performance found it
“exhilarating” and was still gushing on her way out of the theater. Another
friend thought it was “disappointing,” and while “not awful,” at least
one of the ballets was “just plain boring.”

As for me, I personally enjoyed the entire evening and still
feel energized from the experience. Lovely. Vivacious. Powerful. These are
a few of the adjectives I would use to
describe the beauty, grace and mastery of this internationally-renowned dance
institution, a rare gem with roots in
Harlem’s African American community that gives ballet dancers of color an
opportunity to pursue professional careers. The company’s school of dance encourages students to pursue excellence on whatever paths their lives take
them. Arthur Mitchell, who was the NewYork City Ballet’s first African American principal dancer, was motivated to co-found
the company in 1969 with the late Karel Shook, as a way to honor the legacy and
uphold the vision of Dr. Martin Luther King, Jr.Virginia Johnson, who was
Dance Theatre of Harlem’s prima ballerina for 20 years, now serves as the
company’s artistic director. Another former company dancer, Laveen Naidu, is Dance Theatre of Harlem's executive director.

As I sat in the Annenberg’s Zellerbach Theater, I felt grateful
to witness the company’s remarkable resurgence following an unprecedented eight
year hiatus, during which time the administration concentrated on fundraising
and re-organizing. I remember hearing the devastating news that because of a multimillion dollar deficit, they were
shuttering their doors, so I felt an almost spiritual obligation to support
their revival. Three ballets were presented the night I attended: “Gloria,”
choreographed by Robert Garland; the classic “Agon,” choreographed by George Balanchine and “Contested Space” choreographed by Donald Byrd.

With a floaty, fairy-like presence, prepubescent ballerinas
opened and closed “Gloria,” a ballet choreographed in the traditional form by
Robert Garland. Current resident choreographer and former principal dancer for
the Dance Theatre of Harlem, Garland hails from Philadelphia; he studied
dance under John Hines and Joan Myers Brown. The Mt.
Airy native and Creative and Performing Arts High School graduate propelled
“Gloria” through a series of poetic and lyrical expressive sequences that were performed
with strength and dignity. The spiritual legacy of Harlem inspired the piece,
which Garland dedicated to the AbyssinianBaptistChurch in Harlem,
and its current pastor, the Reverend Calvin Otis Butts, III.

Donald Byrd’s “Contested Space” was the complete antithesis
of “Gloria.” I found the choreography invigorating. Its bold, modern aesthetics skillfully
combined the restrained technique of ballet with the audacious attitude of hip
hop. The piece was a complex inquiry into the meaning of relationships. I was
absolutely blown away by the dancers’ amazing ability to showcase their formidable
athleticism while portraying a piercing emotional depth.

In between Garland’s
“Gloria” and Byrd’s “Contested Space” the company performed George Balanchine’s
“Agon” a break through in dance which premiered on December 1, 1957 to the
striking music of Igor Stravinsky. "Agon" was also a break through in race-relations because Arthur Mitchell and a white woman, Diana Adams, danced
in the ballet’s central duet, or pas de deux. The legacy of this masterpiece is
upheld with integrity by the Dance Theatre of Harlem’s current company. So they
truly deserve kudos. And they also deserve props for perpetuating a grand
tradition in dance and African American culture, whose greater mission is to
“build community, inspire and uplift through the power of art.”

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About Me

“Lady Dove” aka Pheralyn Dove, is a word-warrior. She is a poet and culturalist whose work has been showcased nationwide and internationally as a spoken-word artist, author, essayist, playwright, educator and workshop facilitator. Lady Dove lives in a state of perpetual gratitude. A graduate of Hampton University, she is the author of “Color in Motion,” a book of poetry featuring a foreword by legendary drummer Max Roach. “Little Girl Blue,” her one-woman show in which she portrays 17 characters, is a 90-minute multi-media production about a woman’s journey from victim to victor. Lady Dove has appeared in her native Philadelphia, in New York City, Paris and Rome. Dove was selected for the juried NYC International Fringe Theater Festival, performed at Vision Festival in NYC, and Jazz a la Villette in Paris. She is the featured poet on Khan Jamal’s “Return from Exile” and Tyrone Brown’s, “Moon of the Falling Leaves” CDs. Dove has been a press agent, radio producer, entertainment editor for the Philadelphia Tribune, feature writer for the Philadelphia Inquirer, and lead grant writer on teams that have raised more than $175 million dollars for worthy nonprofit concerns.